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Klarinet Archive - Posting 000092.txt from 2000/07

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Mozart Concerto editions
Date: Mon, 3 Jul 2000 12:46:01 -0400

Well, if we are speaking about the Bellison edition of K. 622, I agree
that it is a particularly poor one, not only in light of current
scholarship (for which Bellison can not be faulted) but also in terms of
both his dynamic and phrasing choices which were very uncharacteristic
of music from the late 1700s. It was the first edition of the piece I
ever saw and, at the time, I was so crazy about the work that it didn't
matter who edited it, but it really has no place in today's editions of
that piece.

As for the old B&H, I suspect that it is not correct to suggest that it
was edited in 1907 by Henri Kling. The edition is (or is supposed to
be) an exact copy of the B&H Alte Mozart Ausgabe which began publication
in 1875 and was finished by 1900. So if Kling did do a completely
different edition than the volume of the AMA that would be strange. As
far as my records of the editors of the AMA show, Kling was not among
them. Incidentally Johannes Brahms was!

As for the trio di clarone editing the piece for the new B&H edition, I
would stay as far away as possible from any work edited by three people,
if that is what happened. The fact that all three are excellent, even
wonderful players has nothing to do with it. Thus far, none of them
have demonstrated credentials to be an editor on this work. What they
did was to produce an edition that they like or that they play (really
an editorial concensus of some sort) but that is the LAST way to produce
an edition of K. 622.

It is a common belief that editions produced by very good players must
be very good editions. Wrong! And seriously so, though they might be.
What a good player brings to this piece are not the same things that a
knowledgeable editor brings to this piece.

Sabine Meyer showed how little she knows of the period or how little
respect she has for a composer's judgement when she recorded the Gran
Partitta with a contrabassoon.

Dan Leeson
Keith P Koons wrote:
>
> Dear List,
>
> Regarding Mozart Concerto editions:
>
> The "old" Breitkopf & Haertel was edited by Henri Kling, copyright 1907.
>
> The "new" B & H was edited by the Trio di Clarone (Sabine Meyer, Wolfgang
> Meyer, and Reiner Wehle), copyright 1987.
>
> The Carl Fischer edition was edited by Simeon Bellison, copyright 1943.
>
> Keith Koons, Associate Professor of Music
> University of Central Florida
> P.O. Box 161354, Orlando, FL 32816-1354
> Office (407) 823-5116 Fax (407) 823-3378
> http://pegasus.cc.ucf.edu/~ucfmusic
>
> International Clarinet Association:
> Chair, Research Presentation Committee
> Project Director, Clarinet Anthology
> http://www.clarinet.org
>
> On Sun, 2 Jul 2000, Daniel Leeson wrote:
>
> > Gene, what enabled you to come to the conclusion that the Carl Fischer
> > edition of the Mozart concerto is not as good as the B&H? Who did the
> > edition for Carl Fischer and what's wrong with it?
> >
> > Gene Nibbelin wrote:
> > >
> > > I am currently using the Carl Fischer edition of these concertos purchased
> > > when the printed price was $1.50. Unfortunately, they are still publishing
> > > the same edition using the same (poor quality) plates - just like their
> > > Mozart 622.
> > >
> > > So much for Carl Fischer.
> > >
> > > The Breitkopf & Haertel Mozart is far superior to the Fischer, which brings
> > > me to my question:
> > >
> > > I would like some expert recommendations on the better editions of the von
> > > Weber Concertos, along with any comments that anyone would care to include.
> > >
> > > Many thanks.
> > >
> > > Gene Nibbelin
> > >
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> > --
> > ***************************
> > ** Dan Leeson **
> > ** leeson0@-----.net **
> > ***************************
> >
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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